"Corrado" - A production blog

Status
Not open for further replies.
portlandbozz said:
Adam,

i noticed your two shots of your mic in your pics. what the hell?? im spending 11k on sound for my feature and after looking at those mics i feel like i bought all the wrong shi* lol. they look omnidirectional hand held mics? i noticed in terminator 2 cameron used like the same mics. first time i ever saw that. what kinda mics you using? i may have to rething some stuff here lol
Click to expand...

I was totally underwhelmed when my sound guy trotted those out. But what do I know? He's been on two oscar nominated sound teams, worked on two pics for Eastwood, been in the biz for twenty years.

I don't know what the mics are - I do know when one of the grips alomost broke one he said it was a $2500 mic.

Knowing Dick, and seeing his other kit, they are probably the best - he's one of the mixers on Grey's Anatomy and Lost to name a few.
 
portlandbozz said:
Adam,

i noticed your two shots of your mic in your pics. what the hell?? im spending 11k on sound for my feature and after looking at those mics i feel like i bought all the wrong shi* lol. they look omnidirectional hand held mics? i noticed in terminator 2 cameron used like the same mics. first time i ever saw that. what kinda mics you using? i may have to rething some stuff here lol
Click to expand...

I was on Adam's set and spoke with the sound mixer. He used nothing but the best mics available. The sound mixer and I discussed how much we both admire the Schoeps CMIT-5U that he was using and I also know he used the CMC-641 for almost all of the interiors.

The mic in the shot of Johnny Messner shooting the shotgun is a hand held dynamic, which totally makes sense as the shotgun blast would instantly distort any condenser style mic used. Hand held dynamics are always the mic of choice when recording extremely loud sounds as they are much less sensitive to high sound levels.

Adam did what any smart indie does, he hired a talented sound mixer and I am sure that his sound in the final mix will be really great. Unfortunately, most low budget filmmakers don't make sound a priority and try to do it themselves which almost always ends up sounding terrible when all is said and done.

Best,

Dan
 
HueyNRolf said:
Indeed he did and indeed he does!
Dan, thanks for going to all that trouble... a fine article.
Click to expand...

You are more than welcome Huey, glad you found it helpful.

Ken Stone is the one who makes these all happen (he commissions the articles) and publishes them, drop a line to Ken highres@earthlink.net and tell him that you liked the article, it gives him input on what we will do next.

Dan
 
I need a favor from anyone who wants to help.

I am missing a shot - an establishing shot. I am wondering if the hive can help.

What I need is an establishing of the LAX sign. A simple tilt up from the road to the sign is just fine. Should be in the morning. 1080 24p. I can send you the settings I used.

Without adapter is just fine, as this shot will likely be poached from a fair distance. I can't find what I am looking for in stock footage libraries for a decent price. As I no longer have a camera, it's a drag to get one, drive an hour, and shoot this.

This would be unpaid work, but I would pay your gas and give you a credit in the film.

If anyone wants to do it, PM me.
 
How many people does it take to make a movie?? All I can tell you is what my credits show. I am currently compiling a list of credits for Corrado to give to the title guy. I am so surprised by how many people it too to make this film - and we aren't even done. The list below does not include special thanks or even the some of the people at the post house. There will still be a handful of people added to this list.

Also, it may seem like we had six grips and six electrics, but some of those people didn't work the whole flick. Some only worked a couple days.

Also of note we have no art department, wardrobe, or UPM.

Anyone thinking of making a movie???? This is the bare minimum, I promise you.

 Cast:

Johnny Messner - Corrado
Tom Sizemore - Paolo Spinello
Edoardo Ballerini – Salvatore
Candace Elaine – Julia
Joseph Gannascoli – Frankie D’Onofrio
Tommaso – Frank Stallone
Ken Kercheval – Vittorio Spinello
Tony Curran – Officer Tony
John Fiore – Clayton Zeller
Garret Sato – Jimmy Kim
Michael Bailey Smith – Brooklyn Bridges
Emilio Roso - Claudio
Michael Desante – Officer Larry
Stelio Savante – Antonio
Johnny Ferrara – Carmelo
Anthony Naccarato – Louie
Massimilliano Furlan - Rocco
David Di Salvio – Massimo
Nequia Starks – Girl on phone
Brian Joseph Watson – Rosario
Shannon Garnett – Carlo
Adriano Aragon – Vincenzo
Mitchell Falk – Mario
Heather Pier – Alessandra
Vaz Andreas – Enzo Messina
Stacy Ascencio Sutphen – Angela Messina
Vincent Giovanni – Fabrizio Gennaro
Doriano Vincenzo – Young Corrado
Grant Huntington – Young Salvatore
Kym Verrilli – Kim
Braxton Davis – Gino
Josh Austin – Hit Man
Sergio Candido – Sammy
Gadi Erel – Tough guy
Matt Mintz – Chachi
Tamara Elena – Waitress






Written, Produced, and Directed by Adamo Paolo Cultraro

Tom Sizemore - Producer
Lance Crayon – Producer

Francis Patrick Magee – Executive Producer

David Fox – Director of photography

Paolo Viscomi – Editor

Ryan Franks – Music Composer

First Assistanr Director – Richard Robinson
Second Assistant Director – Sharroll Jackson

First Assistant, A- Camera – Jon Jung
Second Assistant, A- Camera – Johnny Rivera

Operator, B Camera – Luis Sinibaldi
First Assistant Camera – B Camera – Karl Waechter
Second Assistant Camera – B Camera – Gavin Howe

P2 Loader – Chris Townsend

Effects and pyrotechnics – Josh Hakian
Armorer – Bill Davis

Still photographer - James Laski
Still photographer – Ed Gabrys

Key Grip – Rob Vroom
Best Boy Grip – Richie Brush
Grips – Jaimie Urman
-Bobby Shore
-Brian Outland
-Jeanne Dear
-Louis Normandin
-Larry

Gaffer – Ben Thompson
Best Boy Electric – Derek Vass
Best Boy Electric (week 1) – George Su
Electrics – Robert Keith
-Robin Mallard
-Matthew Garrett
-Chris Cooper
-Bob Low

Production Sound – Richard Hansen
Boom Operator – Mike Kaleta

Key Makeup – Alex Noble
Makeup assistant – Rhonda Dobbins

Weapons provided by Gibbons Armory, Burbank

Location scout – Angela Kashfian

Site Representative – Greg
Site Representative – Jason Kashfian

On Set accommodations provided by – Eric Cox and Chris Toth

Website, poster, and promotional materials provided by RVAD – Robert Verrilli

Production Assistant – Michael Richardson
Production Assistant – Greg Kindra

Post Production sound mixed by – Kent Gibson
Visual Effects – Timothy Hyten
Visual Effects – Mark Johnson
Colorist –
Post Production Services provided by DVS Intelestream / CCI West

Candace Elaine’s wardrobe provided by: Zell
 
What's crazy is that you don't realize how big it is until it's over. You pretend like you have a small crew but when you list them all there's nothing small about it!!!! It's not studio pic, but it just goes to show how many people it takes to make a film.

Funny thing is movie number two will probably have a dozen more crew, at least.
 
That's a good, tight crew. The last studio feature I did had 140 people on the set between two units - I have no idea about the post-side. I've been on some incredibly big shows, where you never meet the entire crew due to how effects and post are farmed out and so on.

I'm glad to see how far you are along in this project. Congratulations!

e
 
For the last short i was Associate Producer for, we had a crew of about 35 people....

Also I noticed how you had Tom Seizmore as a producer...

How much creative control did he have? I am currently trying to get investors on a project i'm working on and I have a chance to get a B-List actor... however I don't want to bring him on board and then lose creative control because he decides to bring his people on board. Do you understand what i'm saying?
 
I sit in awe sometimes at the number of people credited on big budget hollywood movies. Some seem silly, like "second assistant catering stand-in" or god knows what (ok I made that one up, but you know what I mean), but especially on effects and/or animation-heavy films the credit roll is simply staggeringly huge. Probably over a thousand in some cases. Cecil B. DeMille would be proud...
 
Ordinarily, a studio pic does have a large number of people on set but take Stanley Kubrick for example, he may not have been making CGI comic book stuff, but his films were large productions usually done with a very small crew, around a dozen or so.
 
egyptianboxer104 said:
For the last short i was Associate Producer for, we had a crew of about 35 people....

Also I noticed how you had Tom Seizmore as a producer...

How much creative control did he have? I am currently trying to get investors on a project i'm working on and I have a chance to get a B-List actor... however I don't want to bring him on board and then lose creative control because he decides to bring his people on board. Do you understand what i'm saying?
Click to expand...


I gave Tom Sizemore a producer credit because he asked for it, and frankly earned it. He donated two of his days for free and also a bunch of overtime because he believed in the project. He constantly found out ways to help me out.

He didn't have any creative control more than what a normal actor already has (which is very small). He put no money in and was given the credit on set.

It's his only true producer credit - I was proud.
 
Status
Not open for further replies.
Back
Top